Memento Mori

Decluttering before we first moved in together,

my lover asked herself, Do I want to take this

 

with me into the ground? At her funeral, visitors

would marvel at the glittering open casket, her precious

 

body cradled in a bed of shining trinkets. Nestled

against her elbow, a crystal sphere arcs rainbows

 

over the tufted satin lid, into its gathered ruched

shadows. She has been dressed in a charcoal

 

suit, well-tailored, the one I chose; her face a rose, mortician-

pinked in her natural sweep of blush. She’d explained

 

to me as we packed that day how her mother had said,

Your father gave me this—and handed my love

 

a figurine, a glass flower, an egg, a goose—before he died.

And my beloved took them, one by one, into her gentle

 

palms, each talisman filling shelves and boxes

even now. I have just as many. Her body floats,

 

a buoyant skiff in a pool of fragile, shining things:

the golden curl on a Fabergé egg echoes a single ringlet

 

cast across her brow. Because someone purchased

a small token of love and because she accepted, now,

 

at her side, I am moved to take each knickknack in my hands,

one by one. I press into my palm the rounded star

 

of a glass poinsettia, feel the pistil’s yellow nudge, then slip it in

my pocket. A thumb-sized teddy bear grasps a spray

 

of baby’s breath, a porcelain turtle grins from its amber-green

shell. I need them. I am now causing a scene, wanting

 

only something to remember her by, just a few

things to take into the ground with me, just something

 

to remind me, when I hold it, firm in my sweating palm,

that she held it, too, that she was once as solid

 

as a glazed clay frog, that we were once

so in love I could sit in her palm to be adored.

 

 

_____
I first met Minnie Bruce Pratt through a class visit to her archive. As a teacher of high school writers exploring process, I watched those blazing magenta pages of Pratt’s typewritten drafts blossom into my own teacher. When I read
S/HE, I found a map of the complex terrains I had been trying to navigate. At that time, Pratt’s words formed one of the small voices that guided me out of the closet. My work, also begun later in life, explores how being partnered with men for decades, shifting gender presentations, and experiencing intimate partner violence continue to impact my lived experience as a lesbian.  —A.G.

 

 

INTRODUCTION

REEB by Cheryl Clarke

Memento Mori by Alexa Garvoille

Overcome by Nancy Kang

Petals by Kai Coggin

Fimmene, Fimmene by Jessica Rae Bergamino

Bayou La Terre by Stacey Balkun

Become, or whatever marriage is equal to is not nearly enough by Alexis Pauline Gumbs

Never the Devil’s Advocate by Margaret Randall

 

Alexa Garvoille is a writer, artist, high school educator, and creative writing studies scholar based in Durham, North Carolina. Their articles on writing pedagogy have appeared in The Creative Writing Workshop in the Twenty-First Century (Bloomsbury, 2026), Imaginative Teaching through Creative Writing (Bloomsbury, 2021), and the National Council of Teachers of English English Journal. They write poetry and creative nonfiction about gender, power, and growing up gay in Wisconsin.